“国家–社会”关系是观察中国社会变迁的一个重要的理论视角。从这一视 角切入，可以看到 20 世纪 50 年代到 80 年代，“国家”对“社会”从渗透到退 出的变迁过程。广州京剧团的发展历程与这三十年“国家—社会”关系的变化过 程基本吻合。1950 年代，“国家”开始强化对“社会”的渗透，但“社会”仍 有一定的空间，广州京剧团依靠“国家”的支持得以成立，同时寻求本土观众， 以扩大其“社会”基础。该时期的戏曲改革标志着“国家”控制的强化，使得广 州京剧团寻求“社会”支持的努力遭到削弱。1960 至 1970 年代，“国家”的控 制延续了 1950 年代以来的趋势，并进一步强化，最终在“文化大革命”达到顶 峰。广州京剧团完全为政治需求而存在，“样板戏”是其唯一能够演出的内容。 “国家”的需要成为戏曲工作考虑的首位，“社会”的需要被置于末位。同时， 广州京剧团内部“国家”和“社会”关系的紧张也愈发严重，剧团内部矛盾重重。 这些都使得广州京剧团的演出质量下降，逐渐失去“社会”的支持。1980 年代， 随着改革开放的进行，“国家”对“社会”的控制减弱，“社会”重新活跃。“国 家”的退出使得其对广州京剧团的支持不断减少，而“社会”的需求日渐多样化， 广州京剧团亦难以适应其要求，导致广州京剧团最终失去了来自“国家”和“社 会”双方的支持，走向解散的结局。广州京剧团与“国家”的关系，与“社会” 的关系，以及大环境下“国家—社会”关系的变化，都影响了其自身的发展。广 州京剧团的演变史，是中国三十年社会变迁的一个缩影。

The relationship between "state and society" is an important theoretical perspective to observe the social changes in China. From this perspective, it can be seen from the 1950s to the 1980s, the change process of the "state" to the "society" from infiltration to exit. The development course of Guangzhou Peking Opera Troupe is basically consistent with the change process of the "state-society" relationship in the past 30 years. In the 1950s, the "state" began to strengthen the penetration of the "society", but there was still some room for the "society". The Guangzhou Peking Opera Troupe was established with the support of the "state", and at the same time sought local audiences to expand its "social" foundation. The opera reform in this period marked the strengthening of the "state" control, which weakened the Guangzhou Peking Opera Troupe's efforts to seek "social" support. In the 1960s and 1970s, the control of the "state" continued the trend since the 1950s and was further strengthened, eventually peaking at the "Cultural Revolution". The Guangzhou Peking Opera Troupe exists completely for the political needs, and the "model opera" is the only content that can be performed. The need of "the state" becomes the first consideration of opera work, and the need of "the society" is placed at the bottom. At the same time, the tension between the "state" and the "society" within the Guangzhou Peking Opera Troupe has become increasingly serious, and there are many contradictions within the troupe. All these have reduced the performance quality of Guangzhou Peking Opera Troupe and gradually lost the support of "society". In the 1980s, with the reform and opening up, the "state" control of the "society" weakened, and the "society" was active again. The withdrawal of "state" reduced its support for the Guangzhou Peking Opera Troupe, while the demand of "society" became increasingly diversified, and the Guangzhou Peking Opera Troupe was difficult to adapt to its requirements. As a result, the Guangzhou Peking Opera Troupe finally lost its support from both the "state" and "society" and went to the end of dissolution. The relationship between Guangzhou Peking Opera Troupe and the "state", the "society", and the change of the "state-society" relationship under the overall environment have all influenced its own development. The evolution history of Guangzhou Peking Opera Troupe is an epitome of the social changes in China in the past 30 years.